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Haiku Artwork Revealed.
"HAIKU" NEW YUSA ALBUM SCHEDULED TO BE RELEASED ON JUNE 2008
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Influences
Influences are less conscious than people suppose. If the music you do is sincere and original, when you are answering about your influences you’re probably talking about what you would like to see reflected in your music, or about the music you really like among those that preceded you. So, taking the risk of answering more about my musical preferences that about my influences, here you have only a part of it: Omara Portuondo, Elena Burke; the Nueva Trova and their paradigmatic Silvio and Pablo; Santiago Feliú from the next generation of trovadours; Rubén Blades and Willie Colón; the Cuban son, salsa and timba: (that I used to play when I was in Soneras Son) NG La Banda, Irakere, Los Van Van; Cuban fusion bands like Síntesis and Mezcla (where I also played briefly); Weather Report, Kool & the Gang, Michael Jackson, Madonna, Cindy Lauper, Prince; the rock & roll bands like Led Zeppelin, Rush, Def Leppard; Jeff Buckley; Brazilian music like Gismonti, Gal Costa, Chico Buarque, Maria Bethania, Roberto Carlos, Elza Soares, Lenine; Keith Jarrett, Chik Corea, Michel Camilo, Herbie Hancock, Gonzalo Rubalcaba, Jaco Pastorius, Sting, Gema & Pável, Habana Abierta, Casandra Wilson, Erikah Badu, Lauryn Hill and Me’Shell Ndegeocello. I mean all the music I have heard once and then I choose to listen again. I’m also touched by the people I use to play with. I’m a kind of musical sponge and I don’t know if it’s good or bad._
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"DIME SI ERES TÚ" - Women are beautiful- YUSA
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"TOMANDO EL CENTRO" Yusa & Ramiro Musotto.Cité de La Musique.
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"TENGO" - Women are beautiful - Beatríz Marquez/Haydée Milanés/Diana Fuentes/YUSA
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"FLASH" Yusa Live in Vence, France 2006
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Cuban Zen: Yusa’s Lived Poetry Shines on Haiku.
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A haiku, as poet Octavio Paz put it, is lived poetry. For Yusa, the Cuban singer-songwriter and multi-instrumentalist,
this means the swaying of the sea, the hue and cry of the city, a toy’s rattle,
a loved one’s dreams.
Compared to everyone from Joan Armatrading to Erykah Badu,
Yusa captures the intimate poetry lived in
the changing, imminently musical Havana on her latest
album Haiku (Tumi Music; U.S. release: June 10, 2008).
This is not the Havana evoked by the elder statesmen of Cuban music
popular in Europe and the U.S.
Instead, it is a vibrant, young, thoroughly modern musical metropolis
echoing with funk, jazz, rap, and soul,
but keeping its connections to its deep African and Caribbean heritage.
“The Cuban music scene is rather unknown abroad, and the information
that comes out of Cuba is always partial,
as if Cuba was outdated and there were no modern, urban music or
constant fusions,”
Yusa explains. “I believe this is its most unknown side: the richness and
diversity of Cuban music.
Cuba is a young country, but with a very alive culture, the fruit of
many cultural mixtures.”
This diversity shines through on Haiku, revealing Yusa’s personal ties
to both old and new ways.
The title track, “Haiku de paz” (Peace Haiku), was born from a melody
that Yusa had roaming around in her
head for weeks, but she couldn’t find the right lyrics to fit it.
An unusual solution soon presented itself:
“One day, a dear friend told me something she had dreamed, and that shaped
the four short verses in this song.
I liked the minimalism, and I understood this as one of the features of
this record: The essential.”
This essence harkens back to Cuban tradition, as the song’s chorus, sung
by friends from the Afro-Cuban rock
band Síntesis, praises the white-clad Orisha god of purity and the mind, Obatalá.
Old meets new, personal meets universal, in a Cuban Zen embrace.
Two essential features of Yusa’s experience growing up in Havana
—the city and the sea—resound in her music.
The sounds of the city, from car horns to children’s cries, flit through
Yusa’s songs, while her inner world echoes
in the lyrics. This subtle soundscape was gently encouraged
by Haiku’s Brazilian producer, Alê Siqueira, who has
produced songs for Marisa Monte and Bebel Gilberto and whose
work with Brazilian pop great Carlinhos Brown
won him a Latin Grammy in 2004.
Siqueira’s unique, playful approach to recording meshed perfectly
with the delicate, intimate songs Yusa brought
with her into the studio. To perfect these songs, as Yusa laid down
tracks on twenty different instruments,
“We played a lot. Everyday we’d bring to the studio details of sounds,
tunes from toys; we created sounds in the
studio out of the most unsuspected things,” Yusa laughs. “We had fun
and we were free until the sound we wanted
came to us.”
Yusa’s love of music and early musical training is intertwined with that
other constant of Havana life, the sea.
As a young girl, Yusa (born Yusimil Lopez Bridon) would sit by the sea
after school, doing homework and strumming
the guitar. “I have a natural feeling for the sea because my father
was a merchant seaman, and I have always been
surrounded by water,” Yusa mused.
She began studying music in elementary school at age six, later going
on to a well-respected Cuban conservatory,
where she became close friends with many of her future collaborators
and acquired her unflagging attention to
musical detail. She also made the unusual choice to devote her musical
studies to the trés, an instrument more often
associated with male musicians from the Cuban countryside.
Yusa, in fact, was the only student in her graduating class to major
in the instrument.
After a stint playing Cuban traditional music with a group of fellow
graduates, Yusa broke new ground as their
group morphed into a jazz ensemble and she took up the upright bass.
While later musical explorations led Yusa
to the electric bass, in part as a member of Brazilian roots rocker Lenine’s band,
her most recent work has been a
reconciliation and reconnection with the guitar and the trés.
“The guitar is the instrument I use the most, for many
reasons,” Yusa notes. “One of them, the one that fascinated me most
was its minstrel spirit.
I realized I could carry it anywhere. Wherever I am, there’s always a
guitar nearby.”
Capturing the minstrel spirit associated with the guitar is part of what
Yusa calls the “integrity” or balance sought
by roots-oriented artists like Lenine and herself. “I feel an almost mystical
respect for my traditions and my roots.
But I’m a woman of these times, a musician from now and not from
other epochs. And I would like to be faithful
to both sides, to love the parents as much as the children.”
Finding balance and peace between past and present is an ongoing
challenge as Cuba faces a new era.
But Yusa looks to the future with great hope for her country’s burgeoning
music scene: “When creative people react
to new vital experiences, new narratives arise, new ways of making
and saying,” Yusa reflects. “I hope that
the changes will have an impact in the way Cuban music is promoted
and disseminated, in its institutions.
I trust this, with a lot of optimism. And with effort, too, because we
all have got to be part of changes for good.”
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Hola grosa! Te invitamos a ver a La Modernidad en vivo en NOTORIOUS La Plata, Pasaje Rodrigo, 1er piso | Av 51 entre 4 y 5. El jueves 2 de julio 21:30hs. Un abrazo!
Aqui pasando a saludar!! aprovecho para mandarles
un abrazo y dejarles esta invitacion:
Que Honduras con las verduras que ya subieron las Temperaturas
A toda la banda: Este viernes 29 en el C3Bar 21 hrs.
Eduardo Green & Thegreenmotherfunkers LIVE.
Puli Negro_Bateria
Amur_Funk Bass
Ramon Rodriguez_Tabla y percusion
Mr Green_Guitarra Fx secuencias y Vox electro funk latin samba techno pop
Feliz Gira! No te pierdas el solo de Joe McCReary lleva un bajo piccolo steinberger y suena a guitarra.Besos! (Este concierto lo ví en los 80,S años en los que me escapaba de casa para ir a ver a Miles donde fuera).
Siete sangrientos sicarios del RITMO luchan contra la dictadura del HIP HOP programado. ¿Sus armas? misiles bafle-oreja, compases molotov, jazz mostaza, grooves de fragmentación y batukadas de mano... Todas aceitosamente a punto para basear a su Papa Doc particular (Junaum MC). Rompan sus grillets, preparen sus caderas, liberen sus trompas de falopio para dejar paso al Hip Hop acústico de Tom Tom Makuts!!
TOM TOM MAKUTS Día: 20 de mayo. Hora: 19:00 h. Lugar: Pabellón Universitario.
FORMACIÓN Batería_Periko Ráez (Litel Richard) Bajo_Iosu Izaguirre (El gran Master Flash) Percusión_Sergio Lpz de Landache (El Jiringuilla) Guitarra_Marcio Rezade (Marcinho da rua)
Thankyou for being a friend of New Translation. Cool tunes on this space. We invite you to taste a section of our upcoming album with a track named 'Found'. On this track we have liberal sprinklings of Geoff Bradley and Pete Raidel (Goose) on trumpet and sax respectively, the dish finished with Tony Minnieconn's patented vocal awesomesauce. Please let us know what you think? The track will be up for the month of May so get your fill until our anticipated album release towards years end. Keep up the great work. Cheers Shaun M
yusa!!! somos los del disco blanco que se llama "hilos", que te dió (la obligamos a que te lo de) Paula Rivera!! nos quedamos con las ganas de conocerte cuando viniste la última vez a La Plata (argentina). igual te vimos en la estacíon con el tiki y mariana baraj. hermosa tu música, muchas gracias por compartirla. tincho y jenainne
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